Dila Cakir

At ten of seven, the lights went out—my worst fear. But soon, they were lifted. The audience—ranging from students dressed in tank tops attending to see their friends to Brunswick community members graced with scarves and purses returning to see their Bowdoin Symphony Orchestra—joined together in applause for principal violinist Jimmy Song ’25 as he took the stage, briefly followed by director George Lopez.

The evening opened with Gabriela Lena Frank’s “Three Latin American Dances,” a symphonic tribute to the musical dances of Indigenous and Afro-diasporic cultures in Latin America as well as European brass bands. Seeing Lena Frank’s name next to Beethoven’s on the program was a treat—in concert halls today, composers from centuries ago are featured significantly more than living composers from diverse social and cultural backgrounds. Better yet, the orchestra’s performance of Frank’s piece was immersive, given the rhythmic and emotive proficiency of the ensemble; I couldn’t help but tap my toes.

The scherzo first movement truly lived up to its name—a lively jest, as the Italian term implies. The pizzicato plucks of the violins were so playful that even the musicians couldn’t suppress their laughter. While they joked, two elementary schoolers perched on the balcony, wide-eyed with fascination as their mother pointed out the different instruments in the percussion section. Fostering musical interest in a free-admission concert and welcoming audiences of all ages is exactly what performances like this should aim to do. Mason Kahn ’28 was the center of their attention; he rattled the claves. His tolling, almost mischievous retreat with the claves entranced the audience, including the children, into silence as if everyone was holding their breath, waiting for a glass ball to shatter.

The following movements showcased a mastery of dynamic precision and rhythmic swelling. Before Lopez released his hands down after the final note, the audience did not breathe. He exhaled, and a warm applause lit the room. Profoundly, this was the expression Lopez envisioned—“layered rhythms, bold colors and melodies influenced by Indigenous and Afro-Latin roots—music that celebrates cultural diversity and makes you want to move while still being deeply thoughtful and complex,” he remarked.

The Bowdoin Symphony Orchestra’s unity in performing this piece seemed to inspire a sense of togetherness in the audience as well. For me, this is the reason to enjoy a live concert—the shared experience of sitting in the hall, absorbing the performance and reciprocating to it in a communal response. The response begins with a peaceful stillness, flows into grateful applause and then quiets down, preparing everyone for the next musical journey.

With the strikes of the infamous minor short-short-short-long motif, we landed into the dark world of one of the most performed pieces in the Western music canon, Beethoven’s “Symphony No. 5.” Once again, Lopez choreographed the notes on the page, as if he drew the beautiful French horn solo onto the hall. By the end of the second movement, the strings and woodwinds sang melodies conversely while the hum of the timpani and string basses vibrated my chair.

But the final celebration was the Symphony’s final movement, peaking the “symbol of resilience” Lopez constituted. While the trombones did not join the orchestra for Tuesday night’s performance, the trumpet section of five made up for it, hailing in a grand ending. Without pause, the crowd propelled into applause. Henry Burke’s ’28 grandparents were among those giving a standing ovation in Studzinski Hall last Tuesday night, having traveled over 500 miles to see him perform. Meanwhile, for many students, the concert was just steps from their dorm rooms. Fortunately, the event was also live-streamed, allowing dozens of families around the world to experience the symphony’s powerful interpretation of Frank’s musical brilliance and the Fifth Symphony. Indeed, performing such a well-known masterpiece is a steep challenge. Yet, Burke aptly remarked, “the audience heard us seize the challenge.”

On my way home, the air felt warmer, the streetlights dimmer, and the stars brighter. In the distance—beyond the squeaking Smith Union door—I heard heartfelt congratulations and students reminiscing. I passed by a group of musicians walking home together and suddenly realized: The evening was about camaraderie.

From the moment the lights dimmed, to the audience breathing as one, to the victorious final movement of the Fifth, every soul was touched, and every soul touched another. To be moved by others—and to be moved together—is inherent to experiencing community and love. Likewise, Lopez remarks that Tuesday night’s program “reflect[s] who we are, where we’ve been and where we’re headed,” which consequently shows the progressive direction the Bowdoin Symphony Orchestra is headed. It is profoundly heartwarming to experience these ideas when sitting in on a concert by the Bowdoin Symphony Orchestra and is an opportunity that should be embraced.